FLORENCE impressions of ..........

Florence
has immense riches in sculpture, art and architecture. Yet not everything is
quite as it first appears. Consider
Michelangelo's David. On completion(1504) the sculptor and his supporters
campaigned strongly for a prominent site at the entrance to Palazzo Vecchio as
the huge weight precluded it from being lifted onto the Duomo. Leonardo da
Vinci – reportedly unimpressed by Michelangelo's work - preferred a less
imposing location under cover in the adjacent Loggia. Had Leonardo prevailed it
might never have been necessary to remove the original into the Accademia
Gallery for protection in 1873. A replica was substituted in 1910. Convincing -
but not authentic.

Likewise Ghiberti's
doors at Florence's 12th century Baptistry were removed to Museo dell'Opera
dell Duomo in 1990. The guilt bronze panels were so admired by Michelangelo
that he named them ‘Gates of Paradise’. Centuries later these originals were
removed to be laser cleaned. Again reproduction panels are now substituted.
Convincing - but not authentic.

Arriving at
the understated San Lorenzo church a visitor might easily be distracted by the
vibrant adjacent market. To miss its spectacular interior and sacristies, one
by Michelangelo and an older one by Brunelleschi, would be folly.
Brunelleschi’s rebuilding of this church waited a century for Michelangelo’s
marble façades, but 16th century austerity left this masterpiece
eternally ‘undressed’.

The vast
Santa Croce faired better with its ornate frontage, yet an adjacent cloister
leads to an unmarked gem. The Pazzi Chapel, thought to be among Brunelleschi’s
finest work, was completed (1443) only three years before his death.

Florence
Cathedral designed by Arnolfo di Cambio (1294) took 120 years to construct
before Brunelleschi won the competition (1419) resolving the impossibly huge
dome using ingenious stone chains as ‘ring beams’. Surprisingly Duomo also
remained ‘undressed’ until 1880’s when white, green and red marble was applied
(designer: Emilio de Fabris).

Consider
also the historic bridges across the Arno demolished (1944) by retreating
German forces. Original stones and statues were used to faithfully reinstate
the damage. Convincing - but not authentic. Thankfully Ponte Vecchio was spared
destruction. As sole authentic survivor it reveals so much more about life
since 1345 than any replica. The bridge originally accommodated fishmongers,
butchers and tanners on stall tables. The projecting back-shops and upper
floors were later additions when goldsmiths became favoured as more fragrant
traders on the bridge.

An
audacious project for Cosimo I de Medici transformed Ponte Vecchio (1565). A
covered link of around one kilometre built between Palazzo Vecchio and the new
Palazzo Pitti passed through the Ufficci Gallery; formed a tall arcade along
the river; crossed Ponte Vecchio [forming a fourth floor]; passed round Torre
de Manelli on massive brackets; through the church of Santa Felicita and over
houses in Oltrarno. Vasari’s Corridor truly demonstrates architecture of
absolute power.

Florence’s
renowned Niccollo Macchiavelli become inextricably associated with duplicity.
His keen interest in conspiracy and legitimacy -or otherwise- of authority
earned him imprisonment and torture in 1513. Perhaps we should simply enjoy
Florence’s vast treasure and not be too concerned with removal of originals -
or indeed their replacement with dummies.